Affirmer que le musée ne suffit pas, c’est interroger ce qu’un musée devrait être et faire, et réfléchir de manière critique sur le rôle des institutions culturelles dans nos sociétés. À travers des conversations, des photogrammes de documentaires, des interventions et des reproductions d’archives questionnant les conceptions de l’architecture sur le terrain, ce volume réfléchit aux outils mis en œuvre par l’institution pour redéfinir sa relation aux autres.
Semi-Nomadic Debt-Ridden Bedouins is the first monograph on the work of the Palestinian artist and filmmaker Basma al-Sharif. Spanning nearly two decades of moving-image and installation work, it combines visual documentation with texts that reflect on the charged political landscapes through which al-Sharif navigates.
This monograph marks the occasion of the first European survey of Nicola L. (1932–2018). Often discussed in the context of Pop Art, activism, feminism, and design, this is the first in-depth exploration of the multi-layered and expansive nature of her extraordinary practice, which also encompassed cosmology, environmental concerns, spirituality, political protest, and sexuality.
The artist’s book to love and devour by Tolia Astakhishvili was published on the occasion of the inaugural exhibition at the new site of the Nicoletta Fiorucci Foundation in Venice, curated by Hans Ulrich Obrist.
This monograph, published on the occasion of Samson Young’s exhibition at SFMOMA, focuses on his latest project, Intentness and Songs, a multimedia installation that poetically traces the idiosyncratic rhythms of love, memory, experiences of time, and AI. Essays and a rich set of unpublished materials offer new keys to understanding the artist’s work.
The book, published on the occasion of the eponymous exhibition held at CAM – Gulbenkian in Lisbon, explores convergences in the work of Paula Rego (Lisbon, 1935 – London, 2022) and Adriana Varejão (Rio de Janeiro, 1964), although they belong to different generations and come from different backgrounds.
Edited by di Cloé Perrone
Texts by Adrienne Edwards, Ekow Eshun, Francesco Freddolini, Wangechi Mutu, Cloé Perrone, Ilaria Puri Purini
Designed by Lorenzo Mason Studio
2025, English, hardcover, 30 x 24 cm, 202 pages
ISBN 979-12-80579-80-5
The title of this rich publication, published on the occasion of the solo exhibition of the Kenyan-American artist Wangechi Mutu at the Galleria Borghese—the first time in the century-old history of the Villa for a living female artist—evokes the dual nature of Mutu’s practice: poetic and mythological, yet deeply connected to contemporary social and material contexts. “Black soil”—rich and malleable under the rain, almost like clay—appears across multiple geographies, including the Secret Gardens of the Galleria, which resonate with the artist’s imagination. From this soil, the sculptures seem to emerge, as if molded by a primordial force, giving shape to stories, myths, memories, and poems. The metaphor underscores the generative and transformative power of her work: rooted in materiality, yet open to multiple future interpretations.
Wangechi Mutu’s intervention introduces a new vocabulary into the historical and symbolic architecture of the Galleria Borghese. Through sculpture, installation, and moving image, the artist proposes an innovative approach to the museum space—one that challenges hierarchy, permanence, and fixed meaning. Her works question the visual weight and authority of the collection through strategies of suspension, fluidity, and fragmentation. In doing so, the museum is no longer presented as a static container of objects, but as a living organism, in continuous transformation, shaped by loss, adaptation, and reconfiguration.
Accompanied by a text by curator Cloé Perrone analyzing the context and themes that informed the exhibition’s conception, the volume is enriched by four additional essays by Adrienne Edwards, Ekow Eshun, Francesco Freddolini, and Ilaria Puri Purini, as well as a conversation between Eshun and the artist. A rich selection of illustrations allows the readers to retrace the exhibition, which unfolded in the Gallery’s sumptuous rooms and gardens, all the way to its extramural presence at the American Academy.
